1-20 of 574 Search Results for

character

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
×Close Modal
Sort by
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2013) 28 (3 (84)): 67–101.
Published: 01 December 2013
... Schmid), Fränze (Helen Vita), Cilly (Annemarie Düringer), Trude (Irm Hermann), the Whore of Babylon (uncredited), the waitress (Elke Haltaufderheide), and Mieze (Barbara Sukowa). Across successive episodes, these minor characters offer a version of seriality inside the serial form that is Berlin...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
...Ewan Kirkland This article explores construction and representation of masculinity in the “survival horror” video-game series Silent Hill . Noting the dominance of traditional male characters and masculine themes within the video-game medium, the Silent Hill franchise is seen as deviating from this...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... child, Temple's adorable characters both naturalized and eroticized the racial exploitation these films celebrated. For in her performances of complex racial, sexual, and gendered masquerades, Temple's characters engaged in forms of passing that were crucial to the domestication of blackness during this...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 1–33.
Published: 01 September 2014
...Anthony Reed This article situates Spike Lee's neglected collaboration with Suzan-Lori Parks, Girl 6 (US, 1996), as part of a broader shift in Lee's understandings of race in the neoliberal era. Its main character, simply called Girl 6 (Theresa Randle), aspires to be an actress, but after a...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
...Michael DeAngelis With Russell Crowe character attributes that might code the star as a narcissistic diva are recontextualized, constructing an authentic figure whose occasional acting out enhances his masculinity rather than feminizing him. This article contrasts the notion of the performer as an...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 175–183.
Published: 01 September 2017
... assumed heteronormativity of the characters in the script as well as by not limiting who can be cast as each character: a straight white man, for instance, can find himself playing a queer woman of color. Coffee troubles the idea of the gaze in the sense of being a transparent production wherein the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 185–192.
Published: 01 September 2017
... the usual flow of information between the player and their player-character. In this text-based Twine game, players assume the role of an unnamed, unknown “you” as you spend a final moment with your lover. Made for the prompt “Ten Seconds,” its most notable feature is an omnipresent ten-second timer...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2018) 33 (3 (99)): 103–127.
Published: 01 December 2018
... herself through the characters she develops and the milieus that dominate her cinema. While there is an absence of glamour, romance, and sentimentality, the characters also do not dwell in a state of material precarity; the insecurity they face is instead personal and social. Three tendencies distinguish...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2008) 23 (3 (69)): 137–157.
Published: 01 December 2008
...David Copenhafer In David Lynch's Blue Velvet , music is a key component of the film's intricate staging of gender and sexuality. “Mourning and Music” interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
... become apparent. When, for instance, a recurring ghostly tracking shot insistently links Rebecca and Rope in defiance of a general critical segregation, it becomes necessary to retest the boundaries of character and diegesis on which criticism habitually relies. Taking up residence between and beyond his...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
... characterization of Arnold as a black Belgian highlights the fact that there are no major Kenyan characters in The Constant Gardener. Instead, we see a range of minor Kenyan (Mis)Imagining Africa in the New Millennium  •  77 characters in various occupations. This representation of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
... world”—is associated with wild nature, while a “good” woman enacts the taming of nature. While the film clearly villainizes Tierney's character, it derives much of its odd tone and powerful impact from the way it also renders her fascinating and fabulous, largely by associating her with outdoor...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
... the most malicious sounding way possible so as to highlight the binary schema between the evil character and the good protagonist, for whose voice I exaggerate purity and honesty. There is a binary between the young woman at a restaurant and Namie, too. I characterize the former as sweet and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 1–37.
Published: 01 December 2012
... video projects invite audiences to continue exploring multiple definitions of survival, hybridity, and cultural transformation, reanimating characters sacrificed in the series on its way to genetic utopia (or dystopia) and thereby resuscitating the multiple, queer, contradictory futures they embodied...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2012) 27 (3 (81)): 149–157.
Published: 01 December 2012
... happening on two interconnected fronts. Directors otherwise marginalized within the larger film industry are refiguring narrative conventions by not only allowing for a multiplicity of experiences and perspectives among characters and story lines, but also mobilizing their storytelling structure to be...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
... the film, which is itself precisely structured as a palindromic procession into and back through a series of mirrored spaces. Faces become more prominent in the film's second half, tasked less to reveal character than to convey graphic, affective, and historical tensions pertinent to the film's...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
...Juliana Chang This essay explicates how Mei Li (Miyoshi Umeki) and Linda Low (Nancy Kwan), the Asian migrant and Asian American female leading characters in the film Flower Drum Song (dir. Henry Koster, US, 1961), oscillate between embodying the fantasies of American modernity and exposing the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2017) 32 (1 (94)): 93–127.
Published: 01 May 2017
..., France, 1945). Adopting Marcel Mauss's categories of the human mind, the author maintains that the relationship between Arletty's person, her star persona, and her function as a personnage (character) constitutes a unique form of aesthetic selfhood recognized by her contemporaries but largely...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... character and plot. Indie cinema’s investment in realism amounts to an interest in character and certain types of characterization over a high-­concept plot and visuals. The drama focuses on human behavior and interaction that, rather than supporting the narrative, is the narrative. In the rhetoric...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... of the modern mire of economic and intimate abjection. Their means of bonding, too, are characterized by isolation, even when the characters are in a social group. The women are all uniquely other, and as a result, the shows are able to interpellate viewers who recognize these subjects...